The regulations of the Academy of Music will not permit the distrih»«nn „ ACADEMY OF MUSIC . . . BROOKLYN Friday Evening, January 6, at 8.15 Under the auspices of the Brooklyn Institute of Arte and Sciences and the Philharmonic society ot .Brooklyn

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v*=* BOSTON SYMPHONY ORCHESTRA INCORPORATED FORTY-FIRST SEASON J92M922

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FORTY-FIRST SEASON, 1921-1922

INCORPORATED

PIERRE MONTEUX, Conductor

FRIDAY EVENING, JANUARY 6, at 8.15

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED

THE OFFICERS AND TRUSTEES OF THE

BOSTON SYMPHONY ORCHESTRA, Inc.

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ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN

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PIERRE MONTEUX, Conductor

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Violins.

Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Berger, H. Kassman, N. Barozzi, S. Leveen, P. Siegl, F.

Thillois, F. Gorodetzky, L. Kurth, R. Murray, J. Riedlinger, H. Goldstein, S. Bryant, M. Knudsen, C.

Stonestreet, L. Deane, C. Erkelens, H. Seiniger, S. Diamond, S. Tapley, R. Del Sordo, R. Messina, S.

Violas. Fourel, G. Werner, H, Grover, H. Fiedler, A. ArtiSres, L. Van Wynbergen, C. Shirley, P. Mullaly, J.

Gerhardt, S. Kluge, M. Welti, 0. Zahn, F.

Violoncellos.

Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendoen, J Schroeder, A. Barth, C. Fabrizio, E. Stockbridge. C. Marjollet, L.

Basses Kunze, M. Seydel, T. Ludwig, Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, I Demetrides, L.

Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Arcieri, E. Mueller, E. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F.

Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L.

Horns. Horns. Trumpets. Trombones. Wendler, G. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A. Gebhardt, W. Kloepfel, L. Kenfield, L.

Tuba. Harps. Timpan:[. Percussion. Adam, E. Holy, A. Neumann, S. Rettberg, A Zahn, F. Delcourt, L. Kandler, F. Ludwig, C.

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Thirty-fourth season in Brooklyn

Forty-first Season, 1921-1922 PIERRE MONTEUX, Conductor

THIRD CONCERT

FRIDAY EVENING, JANUARY 6

AT 8.15

PROGRAMME

Franck . Symphony in D minor

I. Lento: Allegro non troppo. II. Allegretto. III. Allegro non troppo.

Svendsen "Carnival in Paris," Episode for Orchestra, Op. 9

Bach . Cantata for solo voice: "Begone, ye gloomy shadows"

Mozart . Recitative and Rondo from the Opera "La Clemenza di Tito"

Rimsky-Korsakoff . "Night on Mount Triglaff," Act III of the Opera Ballet "Mlada," arranged in concert form

SOLOIST LOUISE HOMER

There will be an intermission of ten minutes after the symphony

5 I

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THE BEST in TRAVEL] Symphony in D minor, for Orchestra Cesar Franck

(Born at Liege, Belgium, on December 10, 1822; died at Paris on November 8, 1890.)

This symphony was produced at the Conservatory, Paris, Feb- ruary 17, 1889.* It was composed in 1888 and completed on August 22 of that year. The symphony, dedicated to Henri Duparc, is scored for two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, two cornets-a-piston, three trombones, bass tuba, a set of three kettledrums, harp, and strings. Vincent d'Indy in his Life of Franck f gives some particulars about the first performance of the Symphony in D minor. "The performance was quite against the wish of most members of the famous orchestra, and was only pushed through thanks to the benevolent obstinacy of the conductor, Jules Garcin. The subscribers could make neither head nor tail of it, and the musical authorities were much in the same position. I inquired of one of them—a professor at the Conservatoire, and a kind of factotum on the committee—what he thought of the work. 'That, a symphony?' he replied in contemptuous tones. 'But, my dear sir, who ever heard of writing for the English horn in a symphony? Just mention a single symphony by Haydn or Beethoven introducing the English horn. There, well, you see—your Franck's music may be whatever you please, but it will certainly never be a symphony V This was the attitude of the Conservatoire in the year of grace 1889. "At another door of the concert hall, the composer of 'Faust' es- corted by a train of adulators, male and female, fulminated a kind of papal decree to the effect that this symphony was the affirmation of incompetence pushed to dogmatic lengths. For sincerity and dis- interestedness we must turn to the composer himself, when, on his

*Franck wrote a symphony for orchestra and chorus, "PsycheY' text by Sicard and Fourcaud, which was composed in 1887 and produced at a concert of the National Society, March 10, 1888. He also wrote in his earlier years a symphony, "The Sermon on the Mount," after the manner ol Liszt's symphonic poems. The manuscript exists, but the work was never published. t Translated by Mrs. Newmarch.

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'"The Caknival at Paris," Episode for Full Orchestra, Op. 9 johan svendsen

(Born at Christiania, Norway, September 30, 1840; died at Copenhagen, June 14, 1911.) "The Carnival at Paris" was published at Leipsic in 1877. Carl Siewers states in his biographical sketch of Svendsen that the piece was written at Bayreuth soon after Wagner had made that town his dwelling-place. It was in 1871 (January 12) that Svendsen's sym- phony in D was performed at a Gewandhaus concert in Leipsic. "He composed in that year his concerto for violoncello in D. In the autumn he went to America to be married to an American lady, whom he had met in Paris, and returned the same year to Leipsic, where, after the end of the war, he undertook the leadership of the Euterpe concerts for one year. There he finished the overture to 'Sigurd Slembe,' which was played at the Euterpe then, and in the following year at the musical festival at Cassel, where Liszt was present, and both times with great success. This year was one of the most momentous in Svendsen's life, since in it he met Wagner at Bayreuth, and soon became his in- VICTROLA THE IDEAL MUSIC REPRODUCER

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AND ^^ Inc. BROOKLYN . timate associate. He took the opportunity of making himself fully acquainted with Wagner's music and ideas. In Wagner's house he met the Countess Nesselrode, who formed a warm friendship for the Norwegian composer, and whose talents and experience became of great benefit to him. In Bayreuth some of his happiest days were spent, and it was during this stay he composed his 'Carnaval a Paris,'

. . . which depicts . . . the varied aspects of the capital of pleasure."* The overture is dedicated to W. Th. Seifferth. It is scored for pic- colo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, tambourine, cym- bals, strings. The first performance in Boston was at a Philharmonic concert, Mr. Listemann conductor, October 24, 1879. There is a pianoforte arrangement for two hands by Vassili Sapell- nikoff and one for four hands by Alois Reckendorf

Cantata, "Now begone, ye Gloomy Shadows" Johann Sebastian Bach. (Born at Eisenach on March 21, 1685; died at Leipsic, July 28, 1750.)

The cantata for soprano voice "Weichet nur, betriibte Schatten" is found in an old manuscript of 1730 by Johannes Ringk. The manuscript bears these words: "Cantata a voce sola, 'Weichet nur, betriibte Schat-

*It is a curious fact that Svendsen's name is not mentioned in the many volumes of letters written by and to Liszt, who was always zealous in bringing forward young composers of merit.

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Your own Terms - In Reason BROOKLYN -NEW YORK ten.' 1 oboe, 2 violini, 1 viola, Canto et Fondamentum di J. S. Bach." It is supposed that the cantata was written for some joyous occasion, perhaps a wedding, during Bach's sojourn at Cothen (1718-23). The cantata has nine numbers of recitative and solo, opening with the aria above named and ending with a Gavotte for soprano and quartet. The second aria, "Phoebus eilt," has a theme that appears in the finale of Bach's sixth sonata for clavier and violin. This cantata with the words translated by Mary H. Flint and W. H. Humiston was performed under Mr. Humiston's direction at a Bach Evening of the MacDowell Club, New York, on April 22, 1921. Mr. Humiston worked out the "Continuo" ("Fondamentum"), but the score was as Bach left it except that the Continuo was prepared, not extemporized. The cantata is in G major—Adagio—Andante, 4-4.

Weichet nur, betrubte Schatten, Frost und Winde geht zur ruh'. Florens lust will der Brust Nichts als frohes Gliick verstallen Denn sie traget BJumen zu. Begone, ye gloomy shadows! Frost and winds now go to rest. Spring is here, bringing cheer, Over fields and over meadows; All the earth with flowers is drest.

Recitative "Now, Vitellia, the Hour Strikes!" and Aria "Never shall Hymen adorn my Life's Path with Roses" from "La Clemenza di Tito," Act II., Scene VII Wolfgang Amadeus Mozart

(Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791.)

"La Clemenza di Tito," or "Titus," opera seria in two acts, original Italian text based on the like-named libretto of Metastasio by Caterino Mazzola, was performed for the first time on September 6, 1791, at the

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coronation festivities of the Emperor Leopold II. The singers were Mmes. Marchetti, Fantozzi, and Antonini; Mmes Bedini and Perini (taking two male parts); and Messrs. Baglione and Campi. This recitative and air are sung by Vitellia in the second act :

Recitative—Now, Vitellia, the hour strikes, the serious hour of the great trial. Hast thou the courage to see how he ends his life who swore fidelity to thee? Sextus loves thee, more than his own life; he became a criminal at thy behest. Thou hast ever seen him accomplish what thou cru- elly askedst for; he will keep faith with thee in death. And yet wouldst thou, well knowing his misdeed, marry the emperor with a smile on thy face? Ah, wherever I might be I should see Sextus. The breezes, the rocks would discover my secret to my husband. I will acknowledge my guilt at his feet; I will lessen my Sextus' crime, even if I cannot save him, by my own undoing. So vanish, proud hope, vanish forever. Aria—Never shall Hymen adorn my life's path with roses, with fragrant myrtle. Already I see dungeons open horribly, already see torments of death draw near.

Woe to me, wretched one! what terror! Ah, what will be my lot? He who sees what I suffer will surely take pity on me.*

The recitative begins in D minor, and ends in B-flat major. It is accompanied by strings. The air begins with a short larghetto in F major, 3-8, which is followed by an allegro in F major, 4-4, in rondo

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12 ACADEMY OF MUSIC

FRIDAY EVENING, FEBRUARY 3, 1922, at 8.15 o'clock

PIERRE MONTEUX, Conductor

SOLOIST

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13 — form. The accompaniment is scored for flute, two oboes, basset-horn* solo, two horns, and strings. The librettist, Caterino Mazzola, was a Venetian, a friend of da Ponte. He was appointed Court Poet at Dresden in 1782. One of his duties was to provide librettos for operas and cantatas. Metastases libretto in three acts was written in 1734, and Caldara was the first to set it to music, for the birthday festival of Charles VI., at Vienna, 1734. This opera was ordered by the Estates of Bohemia for the coronation of Leopold II. Mozart was a sick man when he received the commis- sion in August, but he buckled himself to the task. The opera was written and rehearsed within eighteen days. The secco recitatives were not by Mozart, but by his friend Stissmaier, who went with him to the first performance. The story is practically the same, with change of characters, as that of Corneille's "Cinna; ou, la Clemence d'Auguste" (1639). Metastasio took for his hero Titus, "the lovely dearling and delightfull joy of Man- kinds " Titus has unthroned Vitellius, whose daughter Vitellia is sore vexed because Titus does not woo her. She conspires with her lover Sextus, friend to the emperor, the latter's downfall. Titus exiles his sweetheart, Berenice, and prays Sextus to give him the hand of his sister, Servilia, who is already promised to Annius. Servilia tells the truth to Titus, who abandons his purpose, and now thinks favorably of Vitellia. She meanwhile goes on with her plot. There is a report that Titus has been assassinated. Sextus, about to escape, is imprisoned, but out of love for Vitellia is silent. Vitellia, to save him, declares in the amphi- theatre, as Sextus is about to be put to death, that she alone is guilty of instigating the plot. Titus pardons all. Zelter wrote to Goethe: "Such a Titus, who is in love with every woman who wishes to kill him, is yet to be born." This text was set to music by many besides Caldara and Mozart, Leo, Hasse, Wagenseil, Pampani, Perez, Gluck, Adolfati, Jommelli, Cocchi, Naumann, Bernasconi, Anfossi, Sarti, Holzbauer, Guglielmi, Apell, Ottani, Niccolini, Galuppi, Grua, Mazzoni. * * *

The part of Vitellia was created by Maria Marchetti. She was born at Naples in 1767, sang in Italian cities, married the tenor Fantozzi in 1786, and went to Germany in 1791. She was engaged by the Royal Theatre, Berlin, in 1792, and was paid the first year 3,000 thalers and 100 louis d'or for travelling expenses. There she stayed until 1805. She sang afterward in concert at Berlin, and went to Petrograd. Her voice ranged from C below the staff to C on the second leger line above

* The basset-horn, or corno di bassetto, is an alto clarinet in F, a fifth below the clarinet in C. Its downward compass is prolonged to the extent of a major third. The tone is rich and sombre. The instrument is now practically obsolete, though the alto clarinet in E-flat used in military bands resembles it. Mozart employed the corno di bassetto in this opera, "The Magic Flute," "Figaro," "Die Ent- fuhrung," and in his Requiem; Beethoven introduced it in his ballet of "Prometheus"; Vogel used it; and Mendelssohn wrote for it, though not in his orchestral works. There is a dispute about the origin of the name. The story that has prevailed is that the basset-horn was invented in Passau in 1770 or 1777, and improved by Lotz, of Presburg, in 1782. The Oxford English Dictionary says that "basset- horn" is a translation of the French cor de basette, Italian ccrno di bassetto; and "bassetto," which in English means a small bass viol, is an Italian diminutive of "basso." Lavoix, in his "Histoire de 1' Instrumentation," says that the inventor's name at Passau was Horn, that the instrument was named after him, and by a queer translation the "basset Horn" became in French the "cor de basset" and in Italian "corno di bassetto." Iwan Muller took the instrument and turned it into an alto clarinet, and Simiot and Sax made further improvements. The instrument at concerts is usually replaced by a clarinet. The basset-horn was used by Frederick S. Converse in his opera, "The Pipe of Desire," pro- duced in Jordan Hall January 31, 1906. Joseph Holbrooke employs it in his overture to "Children t of Don." 14 — " the staff, but her tones were equal, of sombre richness, and they were under control. She did not dazzle in bravura, but moved by charm of expression in song and action. She was of heroic stature, with jet black hair and eyes, a handsome woman according to general report, yet some one in 1799 described her as "a caricature.

"Night on the Mount Triglav (Three Peaks)," Third Act of the Opera-Ballet "Mlada" arranged for concert use (orches- tra alone) .... Nicholas Andrejevitch Rimsky-Korsakov

(Born at Tikhvin, in the government of Novgorod, March 18,* 1844; died at Petrograd, June 21, 1908.)

"Mlada," an opera-ballet, text by Gedeonov,t was produced at Petrograd in October, 1892, at the Maryensky Theatre. The part of Prince Mstivoy was taken by Feodor Stravinsky, the father of the com- poser Igor; that of the minstrel Linmir by Dolina. The shade of Mlada in the ballet was represented by Mme. Pepita; the shade of Cleopatra by Mme. Skorsiouka. When "Night on the Mount Triglav" was performed at a concert of the Russian Symphony Society, Modest Altschuler, conductor, in Carnegie Hall, on November 19, 1904, the following translation of the argument which in the score is in Russian, French, and German, was printed on the programme : "The stage is filled with thick clouds. Darkness. The clouds grad- ually scatter, and finally completely vanish; Shooting stars. A clear, moonless night. A gorge by the Mount Triglav. The shadows of the deceased fly together from all sides, and start a fantastic round dance. The gorge is lit up by the rising full moon, in the rays of which the shadow of Princess Mlada appears, luring Yaromir on. Lightly she glides over the rocks and precipices, Yaromir keeping pace behind. The shadows of the deceased interrupt the round dance. Carried away by his passionate impulse, Yaromir attempts to approach Mlada. The latter's shadow vanishes, Yaromir disappearing in its wake. The moon grows ruddy. Subterranean thunder; the souls disappear in terror. Flight of night birds. Evil spirits, werwolves, spectres and witches ap- pear; snakes and toads creep out from all rocks and gorges. The spirits of darkness play and dance. Out of the hellish round dance Chernobog

*This date is given in Belaleff's catalogue. One or two music lexicons give May 21. tThe spelling "Guedeonov" also "Ghedeunov" is used by Calvocoressi (Life of Moussorgsky) and Habets (Life of Borodin).

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(the Black God) appears, in the guise of a he-goat, with his retinue. With an incantation he conjures up the souls of Yaromir and the Egyp- tian Queen Cleopatra. It is pitch dark. The stage is transformed into a gorgeous Egyptian hall. Queen Cleopatra, surrounded by dancers and female slaves, reclines upon a sumptuous couch of purple. Cleopatra passionately lures on Yaromir; the latter's soul grows animated; Mlada's shadow covers her face with her hands and weeps. A cock crows. Everything disappears in an instant. Darkness of night; peals of sub- terranean thunder are heard. Stillness. The clouds scatter little by little. Dawn of day begins to break. The southern slope of the Mount Triglav, all covered with woods. Yaromir is asleep. Nature awakens; leaves rustle and birds twitter. A ray of the rising sun falls on Yaromir. Full day." The scenes are as follows : I. Night and Apparitions. Fantastical Rondo. II. Mlada's shade and Yaromir. III. Chernobog; Kaschtsey (the man-skeleton). Morena. Sabbat of Infernal Spirits. Infernal Rondo. IV. Apparition of Queen Cleopatra. V. Change of scene. Morning, Yaromir alone. The story is a wild and confused one. It tells of life among the Baltic Slavs of the ninth century. A powerful prince plots the downfall of Yaromir, a rival ruler, and so wishes him to wed his daughter Voislava. Yaromir is betrothed to Mlada. Voislava gives her a poisoned ring at the wedding, and afterwards invokes the infernal goddesses, for in that region pagan rites were still observed. Yaromir falls a victim to her charms, but at night in a vision learns that she was the cause of Mlada's death. The shade of Mlada bears Yaromir away with her. He kills Voislava. The goddess Lada unites the lovers. The score calls for a huge orchestra. Four flutes (the second and third interchangeable with piccolos, the fourth with an alto flute), three oboes (the second and third interchangeable with English horns), three clarinets (second and third interchangeable with little clarinets, E-flat and D), bass clarinet, three bassoons (the third interchangeable with double-bassoon), six horns, three trumpets (changing to little trumpet and tromba alta), three trombones, tuba (contrabass tuba desirable), a set of four kettledrums, bass drum, snare drum, military drum, tam- bourine, cymbals, triangle, Glockenspiel, xylophone, tam-tam, three harps, organ (behind the scenes) ad lib., and strings. (On the stage, two flutes of Pan, wind instruments with little brass tubes played glissando, a lyre, and a little drum.) It is said that this act was first played in concert at Moscow in 1903. Wassili Safonov was the conductor.

The history of "Mlada" is as singular as the libretto. In the winter of 1871-72, Gedeonov, the director of the Russian Opera in Petrograd, himself a playwright, planned an opera-ballet, "Mlada." According to Habets, the ballet music was to be written by Ludwig Mincus; Borodin, Cui, Moussorgsky, and Rimsky-Korsakov were each to write the vocal music of an act; but from other statements made by him and from other statements, the four composers were not confined to vocal music.

16 —

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